Struger explores the concept of "Reclaiming Space" in relation to Greenhall’s strategy of "turning sovereignty inwards" and reaching a "deep sense of integrity beyond ego". Her practice raises the question of who is doing the reclaiming (e.g. marginalised groups, future generations, alien invaders, machines, nature) and at the expense of whom. The works exhibited indicate vegetal growth and tackle issues such as animacy and mimicry.
“Limbic Resonance’ and “Tender Prey” are modular clay and stoneware sculptures hung on a strand of artificial leather stripes, covered with two different kinds of copper glazes. “Methodic Doubt” and “Hierarchical Animacy” are modular sculptures, made up of materials such as stoneware, aluminium, steel, epoxy resin and driftwood. Within this body of work, Struger challenges the exploitation of a site by skeletal and vegetal growth. The sculptures, usually hung from the ceiling, act as both as antagonists and counterparts to the floor sculptures and their materiality is influenced by Arte Povera. Her intention is a “democracy of form“, in which hand-made sculptures from high-value materials (metals, ceramics) are juxtaposed with found objects and trash. Constantly referring to mythology, she constructs fantastical creations which allude to underlying agendas and territorial claims towards the site. Her practice contributes to a discussion on how and by whom space could be shared and how it could and it should look in the future.